Style, Technique and Methodology

Style,
Technique, Methodology and Meaning in My Paradise Lost Illustrations

By Terrance Lindall

My style

My style has
been variously described by others as Surreal, surreal/visionary, or even
visionary/fantasy art. I call it Hermeneutical Surrealism Interpreting
the meaning of [John Milton’s Paradise Lost] through illustration by an amalgam
of intuitional surrealist methodology and conscious operational
philosophical analysis.

Other, not
unique, terms used to describe my work have been:

Neo-
Narrative Surrealism

Visionary
Narrative Illustration

Conceptual
Surrealism

Conceptual/Philosophical/Fantasy
Illustration

Hermeneutical Surrealism might be the best "term" because I have a
pressing need to continually derive fresh new hermeneutical understandings of
the meaning of this particularly rich and engaging poem, helping me to approach
the unreachable subject matter - the numinous – as is revealed by great thought
and art. This hermeneutical drive, the aesthetic response, merges philosophy
with art and sustains a consciousness-molding activity.

Methodology Technique and Materials

I use oil paint on
gessoed linen canvas. Oil paint has a translucence that gives a richness to a
painting that acrylics and tempera do not have because light penetrates oil and
refracts. I never draw on the canvas before I apply the paint. I apply the
paint directly from the tube and then scrape over the paints to flatten the
gobs over the entire surface of the canvas. The colors blend in interesting
ways. What happens then is that I see forms and ideas in the paint just as
Leonardo would see forms and ideas in stains on the wall - this is the
surrealism in that one is allowing one's subconscious to "find"
forms and ideas, like a Rorschach ink blot test. You
might say that I am “inspired” to see what the forms suggest.The intuitive subconscious is what
forms dreams wherein “impossible” associations are made. This is the creative
act in all the arts. It is also the way of scientific creativity wherein one
makes and tests propositions that might not conform to or might even be
contrary to accepted theory. So the surreal urge is important to waking life in
finding solutions to problems in science and industry by free association of
ideas until a solution is found…or in art when one is finding pleasing
associations of color or form. In other words, the practice of art is also
finding “solutions” to “problems.” The “problem” of making a good or great work
of art out of plastic materials is done by making associations of forms and
colors that become “satisfying” to the artist.

After application,
I let the paint dry for day so it is more tactile. When I am illustrating
specific concepts as with Paradise Lost, I outline in paint, for example, the
general image of Satan conceiving of Sin and then eliminate the unnecessary
elements and bring out and embellish the forms of Satan, Sin etc. thus
slowly bringing forth the finished product. Sometimes the initial product does
not seem to be moving in a satisfying direction and I try other formulations.

I use very fine
brushes (#000) to create fine lines and dots and sometimes scrumble (I have
larger stiff scrumbling brushes) to create effect or use “layers” or
“glazing,”what the old masters usedto create sfumato. To generate excitement to the eye, which also
excites the emotions on a subliminal level I sometimes juxtapoze contrasting
colors, but not everywhere, because I want to create pools of activity. The
rest is using light and dark to create depth and atmosphere, lines and dots
to lead the eye to focal points in the picture, etc.No area of a painting is unimportant.

As with the perfect Word of God, in a
perfect painting nothing can be added or taken away. Thus I paint until I am satisfied that nothing more can be done
(added or taken away), or else cannot figure out what more to do and that I
have done all I can do to approach the
unreachable subject matter - the numinous – as it is revealed by great thought
and art.

WHY AM I FASCINATED WITH PARADISE LOST:

I love well told tales that take us
out of the realms of the ordinary (although every day in this ordinary every
day world is extraordinary to me). Of all the great works I have read,
Marlowe, Goethe, Shakespeare, and thousands more, no writer has put great
enduring philosophical questions (good vs evil, free will vs determinism,
duty, honor, truth, ontology, etc.) so well, all entwined with remarkable,
compelling and colorful superhuman characters whose thoughts and actions move inexorably to
their necessary destinies because of the very truth of the concepts they and
their actions represent. All of this is done by Milton with the greatest poetic
art, use of language in it's highest form.

In my having "cathected"
Milton's Paradise Lost in an unending fascination and love affair, I have never
fully realized in my art and philosophical commentary an end or a completion.
There are always more ideas to explore. It draws me on like a Siren. There are
always more ways to render the happenings in the epic and more artistically
visionary ways to put them down on canvas. Thus no one artist can ever be
said to be the final word in illustrating Milton’s Paradise Lost. The
opportunities for future generations who want to explore great enduring
philosophical thoughts presented in one of the most exciting and colorful
stories are there, and I have no doubt that artists will come forth over future
generations to add to the glory of Milton’s enduring legacy.